Ciekawostka: Virginia Woolf wrote all her books standing

Evidence: 65 • authority: 72

Julia Prinsep Stephen (née Jackson; formerly Duckworth; 7 February 1846 – 5 May 1895) was an English Pre-Raphaelite model and philanthropist. She was the wife of the biographer Leslie Stephen and mother of Virginia Woolf and Vanessa Bell, members of the Bloomsbury Group. Julia Prinsep Jackson was born in Calcutta to an Anglo-Indian family, and when she was two her mother and her two sisters moved back to England. She became the favourite model of her aunt, the celebrated photographer Julia Margaret Cameron, who made more than 50 portraits of her. Through another maternal aunt, she became a frequent visitor at Little Holland House, then home to an important literary and artistic circle, and…

Evidence: 65 • authority: 88

Writing Virginia Woolf: Autobiographical Fragments. This chapter explores the absence of autobiographical accounts of Virginia Woolf’s professional life. Although A Room of One’s Own and ‘Professions for Women’ can be read as semi-autobiographical, Woolf’s autobiographical fragments, largely written for a more private audience, don’t offer a sustained account of her life past 1910 and reflect an ongoing struggle to leave the Victorian period behind entirely. ‘Reminiscences’ (1907) grapples with clichéd and euphemistic descriptions later dismissed as the worst excesses of Victorian biography; while the artistic ambitions of Vanessa and Virginia remain unspeakable for narrator and subject al…

Evidence: 53 • authority: 72

Orlando: A Biography is a novel by Virginia Woolf, first published on 11 October 1928, inspired by the tumultuous family history of the aristocratic poet and novelist Vita Sackville-West, Woolf's lover and close friend. It is a history of English literature in satiric form. The book describes the adventures of a poet who changes from man to woman and lives for centuries, meeting the key figures of English literary history. Considered a feminist classic, the book has been written about extensively by scholars of women's writing and gender and transgender studies. The novel has been adapted a number of times. In 1981, Ulrike Ottinger adapted it for her film Freak Orlando, with Magdalena Monte…

Evidence: 53 • authority: 72

Who's Afraid of Virginia Woolf? is a 1966 American drama film directed by Mike Nichols in his film directorial debut, produced and adapted by Ernest Lehman from Edward Albee's 1962 play. It stars Elizabeth Taylor as Martha, Richard Burton as George, George Segal as Nick, and Sandy Dennis as Honey. The film depicts a late-night gathering at the home of a college professor and his wife. The film was released by Warner Bros. Pictures on June 21, 1966, and was both a major critical and commercial success. It was nominated for 13 Academy Awards, including Best Picture and Best Director for Mike Nichols. It is one of only three films to be nominated in every possible category at the Academy Award…

Evidence: 53 • authority: 88

“Writing the history of my own times”: Virginia Woolf and the Diary. Woolf’s diary served manifold purposes; this paper addresses Woolf’s intention, explicit and sustained, to create a detailed record of the past for the future. As a diarist Woolf becomes at once archivist, historiographer, and her own posterity—both actual, in her periodic rereading of her record, and projected, in the form of “Old Virginia,” the future self she imagines sitting down to write her memoirs. Once treated largely as a mass to be mined, Woolf’s diary has now been situated as a “work” among her others. I emphasize, rather, the difference of the diary as a process and practice that became an ongoing crucible for…

Evidence: 53 • authority: 92

Love versus/and/as politics in Miroslav Krleža's <i>Banquet in Blitva</i> and Virginia Woolf's <i>Between the Acts</i>.. When asked by literary historian Predrag Matvejević to express his views on the eventual dramatization of his novel Banquet in Blitva (the first two books of the novel were published in 1938-39, the third one in 1962, while the English translation of the first two books appeared in 2004), the Croatian writer Miroslav Krleža - as if to spite the predominant interpretive lenses through which the novel is read in the critical mainstream (cfr. Malić 1963, Vidan 1964, Biti 1984, Flaker 1993, Žmegač 2001, and Kovačević 2013) - insisted that the dramaturg…

Evidence: — • authority: 35